The fashion icon Edward Enninful on Modern Britain: 'Britain Feels Less Tolerant Now' Compared to the Nineties.
A chance encounter during a tube journey in 1988 altered the trajectory of a teenage Ghanaian newcomer to Britain. Scouted as a model, Edward Enninful was quickly drawn into the city's buzzing 1990s artistic milieu, evolving from model to stylist and, while still a teenager, becoming the style editor of i-D magazine.
"That time was the height of the YBA movement – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then Naomi Campbell for a cover, and I felt we’d be great friends. We all socialised across disciplines. Friday rolled into Saturday into Sunday. I long for that rawness."
If Enninful sounds nostalgic, he is far from alone. In recent times, a longing look back of the 1990s has become pervasive. But in the intervening decades, Enninful feels a significant change. "I believe, we’re less tolerant now than we were in the 90s," he says. "It’s not even this country – it’s a global phenomenon."
A Cultural Backslide
This shift is hard to ignore: the growth of populist movements, the pushback against social awareness, and the reinforcement of Eurocentric beauty standards. In place of the optimism of the late 90s, now a more divisive political force looms as a potential leader. Furthermore, the British flag, once an emblem of cultural optimism, has become contentious again.
In Enninful's view, the solution has consistently been to promote culture in all its multifaceted forms. This was the core philosophy behind his seminal issue as editor of British Vogue in 2017, which served as a snapshot of modern Britain, including a wide range of prominent faces from politics.
"Individuals with a platform should use it," he comments, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain was not a open country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I always loved. I trust this period will pass."
Hope in the Next Generation
He finds hope in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."
Those early experiences would define a pioneering career marked by fearlessness and diversity. Enninful set a precedent as the first male, first Black editor, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His leadership featured diverse covers showcasing people of diverse backgrounds, curvy models, an octogenarian, and people from all walks of life. Critically, sales grew.
"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he emphasises.
Beyond the Magazine World
He has established his new venture EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He states his aim to continue being a "change-maker".
"I’ve always questioned the conventional wisdom. I was born and raised in a place where the majority was Black – the doctors, the lawyers, the leader. Then we came to England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d have no future. Me and my brothers were subject to police stops the suspicion laws … all that gave me a dual identity both an insider and outsider."
Contrary to the stereotype of industry figures as loud and temperamental, Enninful is calm and radiates serenity. His life has included its share of adversity, including openly discussed struggles with mental health and addiction.
He has also faced serious health issues, having undergone several surgeries on his eyes, leading to partial sight. "I endured such a difficult period for two years, not working, fearing I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever ends, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to restrict myself to just being an editor or a figure in fashion."
A Foray into Curation
This drive to be defined narrowly has propelled him away from the world that established him. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a group of influential artists and photographers from the era. The show, he says, aims to evoke the decade's artistic collaboration – and give platform to those who lacked a spotlight at the time.
"Galleries didn't always shine a light on the right artists because they did not have the right pedigree," he comments.
This project itself operates on a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "We ask, what can we create collaboratively? Is it an experience, a podcast? The magazine is one component of a broader vision."
An Unstoppable Drive
Now, Enninful is regarded as one of the world's most influential industry leaders. His path, he states, is a testament to the power of pursuing your passions.
How would the Edward of the 90s make of the his current self? He laughs heartily. "He’d be in shock, but he’d be pleased. Back then I was a rebel. I didn't think institutions like Tate were within my reach."
He reflects. "Gratitude is key. We lost our home, we left our homeland. I came close to losing my vision. So fear isn't an option. People have counted me out my entire life. But no obstacle is too great once I’ve set my intention to do something."
